How did you get involved in the music business?I started a fanzine with a friend from college (where I had trained to be a teacher). As a result of that I was asked to do some work on a BBC Radio Newcastle show. That led to writing live reviews and the odd feature for NME. They didn't have anyone who would review hard rock so I did it. Van Halen. Black Sabbath, Whitesnake - well paid but hard work.

What were the circumstances that led to you becoming Tygers co-manager?Robb Weir was aware that I was writing reviews etc. and he just kept calling at my house asking me to go and see his band. In the end I gave in and went to see them at a club in Whitley Bay called Mingles. They made an unholy racket but they had 'something'. I talked to them after the gig and they had a presence - a presence that John Sykes, Jon Deverill and Fred Purser would add to. When they were in the room you were aware that they were not 'ordinary' people. I wouldn't call it arrogance it was just a sense of self-assurance. Graham Thompson was there helping the band in various ways. I had known Graham for a few months and he seemed like a good guy (still is!). Between us we decided that we would manage the band. We had absolutely no idea what it meant to manage a band but it sounded good.

What are your memories of Whitley Bay/Tynemouth from that time (e.g. gigging, rehearsing, the way the band was treated by its home town)?I hadn't lived in Whitley Bay long and so the band became my friends. My entire life revolved around them. They rehearsed in the church at Tynemouth (now the Land of Green Ginger). In the beginning we would have meetings either at my house or in The Monkseaton Arms. Then we graduated to the Berkeley Tavern which became our regular meeting place. Anyone who is in a band will tell you that you become very close to each other and other people begin to feel excluded. But they are not the ones sitting in the back of a van in the early hours of the morning knowing that they have to be at work at 8:00 o'clock the next day. You develop a shared sense of humour and camaraderie. They played regularly at Mingles but were also playing in working mens clubs where they went down very well considering that virtually all of the material was original. There were generally the four band members, myself and Graham and our roadie Paddy. Paddy was another good guy whom we lost somewhere along the way. The six of us would pack into a van with the equipment. You learn a lot about people in those circumstances. Then the band won the local heat of a competition and that really started the ball rolling. David Wood at Impulse Studios offered the band some studio time and out of that came the first single. We did a lot of work to promote that single and when John Peel played it I felt that we were on our way. I had a friend called Ian Penman (who wrote in Sounds as Ian Ravendale) and he did us lots of favours. Once the band had a record deal and were regularly appearing in the press things began to change. People would arrive at my house with albums asking to be autographed which was quite flattering for the band. But whilst most people supported the band a few other musicians became jealous. It culminated in an incident at the Mayfair on the Wild Cat tour. Someone from another band threw a glass at the stage. But Bob Smeaton (the film director), who was in a band called White Heat at the time, remonstrated with him. So you had the guys like Bob who were pleased for the band and others who weren't. The press were always very good to the band and when I complained to Tyne Tees that they weren't giving support they immediately booked us onto a show called (I think) Friday Live. As things got bigger we opened an office in the centre of Whitley Bay and persuaded a friend (Roz) to act as our 'secretary'.

What was the band like to manage?We had very quickly become friends. Richard spent a lot of time at my house and we would talk music and politics. Also Brian used to call in regularly and he would often introduce me to new music. I gained an appreciation of The Tubes from Brian. I enjoyed managing the band but then I wasn't doing the practical (hard) bits like getting them to certain places at certain times, hiring equipment etc. Graham did most of that. My role was more that of negotiator - between band members, with the record company, the music publishers, the agent etc. And remember Graham and I were making it up as we went along. It was actually very democratic. We used to share decisions and Richard usually had a lot of input from the band perspective. He was very focussed. But everyone contributed in their own way. There were never any disagreements that couldn't be ironed out. Also the band were very loyal. As they started to 'make it' with headline tours, TV appearances etc. people came out of the woodwork to try and woo them but they remained loyal. Rod MacSween who was our agent (he also represented most other big rock bands such as Def Leppard and Whitesnake) once said to me 'Remember there will always be someone with a big swimming pool who will tell the band that they could manage them better - watch out for them'. One well-known American manager tried to buy the band from me but I wouldn't sell. Later he ended up in jail as the result of some shady deals so perhaps that was the right thing to do. Interestingly they only ever played one practical joke on me. I arrived at Morgan studios in London with the original artwork for Spellbound in order that they could approve it. They persuaded me that I had to hear that days recording and I was led into the main studio which was in total darkness. Once in the door was shut behind me and as I groped around the walls they let off a thunderfash. It blinded and deafened me and left me totally disoriented for about fifteen minutes. They thought it was hilarious. Needless to say after a journey down from Newcastle on a Friday evening I didn't find it quite as funny. We didn't really get help from anyone except for Rod MacSween at ITB . He always had time for us and I stayed at his house in London a few times. He didn't have much regard for the people who were at MCA then and I think he admired the fact that Graham and I were basically enthusiastic amateurs.

What were the particular difficulties you faced as manager? Money and a strained relationship with MCA. You have to remember that MCA were a huge international record company and we were signed to the American arm of the company. The guy who signed us (who headed up the company in the UK) retired almost immediately and the other people there didn't seem to know what to do with the band. They were used to dealing with big shot American managers who had pots of money and couldn't understand that Graham, and I were just two regular guys with no money. I always remember Tom Petty's manager (Tony Dimitriades) arriving in London and the people in the office actually appeared afraid of him. Not the secretaries but the main company men. Also they didn't understand the importance of publicity and they seemed to feel that once they had placed a full-page advert for an album that was it. In the end we hired a publicist and did a lot of it ourselves. They also didn't like it that we (the band and Graham and I) made our own decisions. When we got John Sykes into the band they said, and I quote "Two guitar bands are on the way out, why do you want another guitarist." I simply muttered 'Def Lepard, Iron Maiden, Saxon'. They also took umbrage that we parted company with Mr. Cox without telling them. But the biggest issue was touring the USA. We knew that it was the key to large-scale success but they wouldn't listen. In the end that is why Graham and I ended our professional relationship with the band. I went to a big MCA conference and begged them to provide financial support for the band to tour in America. But they said the album had to break first. I told them that touring would help to break the album but they wouldn't listen. After the conference I caught a train to Edinburgh where The Cage tour was playing and at the end of the gig I told the band that because of MCA's lack of vision I didn't think that it was fair for us carry on. They needed someone who could make MCA listen. We split amicably and they discovered that no one could make MCA listen.

How would you describe life on the road with the band?We very quickly we went from 7 guys in a transit to articulated lorries and tour buses. Graham was with the band all the time but I only went with them for certain stages of tours. I was at Nottingham Rock City where the live album was recorded and I got to Edinburgh, Sheffield, Southampton, London etc. Everyone liked being on the road but it was very expensive. You couldn't make money from it. By the time the band were headlining we had to pay for hotels, PA, lights, roadies, sound and lighting men, transport etc. It was a loss leader to promote albums. The Spellbound tour was the toughest as it was the bands first really big headlining tour and a lot was expected. We had problems with the PA company and had to change it halfway through, we had to get a new soundman (Gary Townsend)- who I have to say improved the sound immeasurably. On top of all of this everyone (except for JS) fell ill at one time or another. Oh yes and they were under rehearsed. Put it down to a lack of experience. Everyone behaved in different ways. Jon Deverill was quite a solitary person who tended to stay in his hotel room. John Sykes was always practicing or polishing his guitar. Robb would be looking for the next trick he could play whilst Brian and myself would want to see some of the town we were staying in. Richard would spend his time contemplating what the bands next move should be. I think the best gigs I saw were at the Marquee in London with John S and Jon D and at the Reading Festival with Fred Purser.

Were there any strong alliances or friendships within the band / and conversely members who didn't particularly see eye to eye?Not really. Robb and John Sykes got on well together - I think that Robb still sees John when he tours with Thin Lizzy. Brian and Richard roomed together. Jon Deverill always had a single room not because he was behaving like a star but he liked to spend some time alone each day. I think that John always felt like the 'new boy' and I don't think that he ever realised that he was an equal member. Fred didn't have that problem and established himself as a decision-maker as soon as he was formerly offered the job. The band were very much a set of individuals which in a way made it easier because they didn't divide into different camps - everyone was their own individual camp!

Why did the band sign with MCA, who appeared to have done precious little to support or really promote the band?Simple really - we had no choice! EMI and Chrysalis both came to see the band in Newcastle and Sunderland and turned them down. MCA sent a sales rep to see them and rang me offering a deal. I think that they felt that they had to have a NWOBHM band and didn't care who they were.

What were your feelings about the Spellbound album and what do you think about it now?At the time I felt that John's guitar solos were better on the demos. That was part of reason I edged them away from Chris Tsangerides for the next album. That was one of my big mistakes. Dennis MacKay who produced Crazy Nights was not the right man for the job even though he had worked with people like Bowie and Judas Priest. I agree with Richard that we wanted to use Gary Katz. But also Roger Glover was in the frame because we all loved the first Michael Schenker album. Now I think that the album is really rather good. Surely it is one of the best NWOBHM albums

The group always shared writing credits, but who provided most of the musical ideas and lyrics for the Tygers songs?I think that most of the lyrics came from Richard and Jon with some from Robb. As for the music I guess that John and Robb brought the riffs along.

Is there any truth in the rumour that John Sykes asked to rejoin the band after failing the audition for Ozzy Osbourne's band. What was your reaction to that, and how did the Tygers feel about it?Yes that did happen. I got a call from MCA telling me that John would rejoin if the circumstances were right. The band (to a man) said no. I think the manner of his leaving i.e. shortly before a French tour with absolutely no warning meant that the band would always question his loyalty.

Do you still listen to Tygers records? What is/was your favourite Tygers track?Occasionally I do listen to them. I've just bought a bootleg from the USA. Love Potion Number Nine and Slave to Freedom live with Jon Deverill are my favourites.

Where did it all go wrong for the band? Did it start when JS quit, or when he joined?Using Peter Collins to produce The Cage and as a consequence coming under the influence of Peter Waterman (yes - that Peter Waterman.) was our biggest mistake. The only good thing that Pete Waterman did was to persuade me that Love Potion Number Nine could be a hit. I don't think that he knew what John's arrangement would sound like but he was right. I was totally against it as I had the Searchers version, in fact he spent an hour on the phone to me convincing me that it would work. What John did with that song was a stroke of genius. Doing those other covers was an idea cooked up by MCA - specifically their new A&R man - and Peter Collins. Fred's songs and Love Potion are the best things on The Cage. Rendezvous is dreadful. I have a horrendous live version of it from a gig in Europe. I have a rehearsal tape of the band doing the next cover that Pete Waterman suggested. I won't tell you what it is but it is particularly awful! [Rumour has it that this track was I Who Have Nothing - another Leiber and Stoller song] It was when we, as a group of people, gave up total control that things went wrong. Up until The Cage the band had hired all their own people even down to photographers (mainly Rik Walton -yet another good guy). They had also come up with ideas for album covers usually inspired by Richard - Spellbound was even painted by someone I had met who was a gardener at Cragside. When John left I was disappointed, particularly as he had been playing some killer riffs that afternoon in rehearsals. But Fred Purser who joined at literally a moments notice - initially just to help us cover French touring commitments - was an excellent replacement. I had met Fred about a year earlier and just had a good feeling about him.

What was JS like as a person at that time?I don't think that I really got to know John. Sure we socialized - the band, Grahame and I spent a lot of our leisure time together- but our conversations were always about music. In my company he was always pleasant and polite. If he was in my house he would point out certain things about Beatles tracks to me that I hadn't noticed and in rehearsals he would pick out note perfect Beatles song riffs. He never talked band politics with me - only music. I think he probably felt that my allegiance was to the original members. I think that it is a little unfair of him to say now that the rest of the band were lazy. He hadn't had to play with them at Battle Hill Social Club or any of the numerous clubs they played. He hadn't had to eat Graham's 'primus stove catering' on their first tour supporting Magnum! His first gig (apart from a warm up at the Co-op hall in Wallsend) was at the Reading Festival. Also all this stuff about him telling the band to sack the management. It wasn't really like that. We (Graham and I) weren't actually taking any money apart from a small weekly wage for Graham as tour manager. I'm not sure that you can sack someone who you are not paying. John never said a word to me about being unhappy with way the band was managed. If he had it would have been discussed openly. He may well have said things to other people but it was never mentioned to me.

Why do you think JS's career has ultimately taken a rather disappointing (for supporters in his native country) course? - He's based in the US, done a lot of work in Japan, but hasn't really bothered with the UK/Europe. Have you followed his career, and if so, what have you made of it all? There is no question that John is a good musician. He could have been a real star in the UK. I wouldn't say that I have followed his career but I am aware of it. We all used to pile down to see Whitesnake at Newcastle City Hall so when he joined them I was interested to see what would happen. Certainly the album they produced sold very well. But I think John is a true musician who cares more about his playing and his guitar than he does about public attention. I also expected him to appear on more sessions than he has done because he plays every style imaginable.

How did you feel about the Tygers' Wreck-Age and Burning in the Shade albums?I don't really think of them as Tygers albums to be honest. The Tygers only ever made four albums in my opinion.

What are your views on Robb Weir's current version of the band?I saw them once and they were okay.

Are you still in contact with any of the band members?Fred I see regularly. Jon Deverill came to stay with my family the other Christmas. Brian and I communicate by e-mail. I haven't spoken to Richard for about 10 years. I see Robb a couple of times a year. The last time I saw John was backstage at Reading when the band played with Fred Purser on guitar. John was very complimentary about the performance - even if he didn't mean it.

How is life treating you now?Just fine. I ended up as a Headteacher which had a lot in common with managing a band believe it or not!. Recently I left that to work as a university lecturer. I still spend a fortune on CDs and regularly go to gigs.

What music do you like to listen to these days?Counting Crows, Richard Thompson, Steeley Dan, The Beatles, Crosby, Stills and Nash, Toto. If I am getting ready to go out on a Saturday night I might indulge in some Zeppelin, Michael Schenker, Whitesnake or Gary Moore. I still buy a CD every week and have just about replaced my vinyl collection with CDs. Over the last couple of years I have seen Counting Crows, Crosby Stills and Nash, The Tubes, The Jayhawks, Robin Trower and quite a few local bands.

How would you like the Tygers to be remembered?Over the last couple of years my daughter has pointed out a couple of references to them in NME. One where it said that The Darkness were the 'Poor Man's Tygers of Pan Tang' and one where it referred to them as 'The Mighty Tygers of Pan Tang'. They are also in The Guinness Book of hit singles. It's good to know that the name lives on. Their finest moment in the UK was the Reading Festival of 1982. Fred and Richard hadn't wanted to do it for reasons that I won't go into and the rest of the band weren't sure about it either. I was on holiday in Greece and a telegram arrived telling me that there was a problem could I contact MCA urgently. When I got off the plane in London on my return I rang MCA from the airport and they told me that they had been told that the band were pulling out. I told them that that was nonsense and then went straight to Birmingham where they were rehearsing. We had a long discussion where I tried to persuade them that it was important to play Reading which ended with a vote on whether they should appear or not. The vote went 3 to 2 so they did it. After the gig Richard shook my hand and told me it had been the right decision. Their finest moment abroad was in Japan where for a brief moment they were big stars.

Thanks to Tom for taking the time and trouble to answer the questions!